theatre

“The theater is my true home. Theater audiences come to listen. For years people tried to typecast me as a joke comedian. I am an actor, not a seller of jokes. I don’t do jokes per se. As a result, I take little more time to get to my punch lines, and in the theater, audiences are more receptive to this kind of humor. They are also in a dark room facing you and I like that they have nowhere to go.”

Shawn, a versatile comedian, actor, singer and dancer, was featured under the name Richy Shawn in his first Broadway play Starring Molly Picon, For Heaven Sakes, Mother in 1948, He joined Actor’s Equity and was making the minimum $100 per week. He told his family he had made it! Over his 40 year career he starred in nine Broadway productions, along with an expansive regional theater, summer stock and experimental theater outings including The Yale Repertory Theater. His one-man show, The Second Greatest Entertainer in the Whole Wide World, remains a hallmark of his career, blending humor, music, and philosophical introspection into an unforgettable theatrical experience. The 2nd Greatest solidified his place as a trailblazer in live performance.

The 2 ^nd Greatest Entertainer in the Whole Wide World – New York Run 1977

In the 1970’s, he pioneered the one-man show format with The Second Greatest Entertainer in the Whole Wide World, which combined stand-up comedy, monologues, and musical numbers. This show had a short run on Broadway at the Promenade Theater in 1978 and was met with critical acclaim for its originality and Shawn’s dynamic performance.

Unfortunately, The New York Times had a new theater critic, and he didn’t get the show. Wanting to break the tension at the fancy after show party, Shawn said, “Well, who reads The New York Times?”

“His willingness to embrace experimental and unconventional roles helped pave the way for modern comedic performers in theater. In the first scene of The 2nd Greatest Entertainer… he played a stand-up comic in his dressing room, running through his act before the show. Utilizing a fourth wall, he riffed through a hilarious series of observations and social commentaries involving world politics, religion and other aspects of everyday life. Then, in the second scene, after wearing out the audience with laughter, he is now that same comic on stage doing his act. The act that the theatre audience has just seen. And now we’re not laughing because we just heard all these jokes. We see him taking the first few silences in stride, trying to shrug them off with a smile, but when joke after joke bombs we see the panic in his face. Some members of the audience tried to help with pity laughs, but that’s exactly what they sounded like. Pity. The pain of total rejection becomes apparent in his voice and body language as we witness the tragedy of a brilliant clown failing to get through to his audience. It was the greatest use of live theatre I’ve ever seen.” (Michael Dale, BroadwayWorld.com, May 22, 2022)

I’m the greatest entertainer in the whole wide world.

My name is Mr. Fabulously Fantastic Junior.

But my friends call me Fabie Fanty Jew.

Thank you very much. Junior, and so can you sir.

Gonna sing and dance, play my drums, even blow my horn.

Everything I’ve done since I was born.

Sing Paliacci, Gilbert Sullivan, and maybe take a tumble.

And baby when I’m finished with my act you’ll say…oh so humble.”

This excerpt captures Dick Shawn’s comedic style and larger-than-life persona. It exemplifies his ability to mix grandiosity with self-aware humor, creating a character that is both absurd and charming. The rhyme scheme, playful wordplay, and exaggerated confidence are all hallmarks of Shawn’s approach to comedy. This lyric was from the opening song for the 2nd act. His performances combined satire with musical and theatrical elements. By presenting himself as “Mr. Fabulously Fantastic Junior” with a tongue-in-cheek attitude, Shawn satirizes the entertainment world’s egos while simultaneously showcasing his own versatile talents in singing, dancing, and humor. The final punchline, “Humble,” is a perfect comedic twist that underscores his wit and self-deprecating charm.

“About the title, who is the Greatest entertainer, I asked Shawn. He replied, ‘The obvious answer is God. He has the best sets, the best lighting, the greatest casts. Each person walking around is a drama and God gives him a production. Of course, some productions are a little cheaper than other…’ Dick Shawn was smiling broadly. ‘Think about it,’ he said.” Robert Berkvast, The New York Times, May 13, 1977)

The 2nd Greatest Entertainer in the Whole Wide World – Return Los Angeles Run 1985-1986

In 1985 Shawn returned to Los Angeles at the Cannon Theater in Beverly Hills seven years after its initial award winning (Los Angeles and San Francisco drama critics circles’ awards) in a revived production. It was a huge success and ran for a year. Shawn turned down offers to film the show for HBO and SHOWTIME, a first for that time. It’s a pity that a fully professional recording never materialized, but it’s a relief that at least one performance was captured by a single camera recording. He always felt that memorializing the show on film would be too final. His performances were always dynamic and ever changing. He thought that maybe someday in the future he would. Unfortunately, that day never came.

Over his career, he showcased his talents in several notable Broadway productions:

“A Funny Thing Happened on the Way to the Forum” (1962): Shawn replaced Zero Mostel in the lead role of Pseudolus, bringing his unique comedic flair to the character.

“The Egg” (1962): Shawn starred in the short-lived Broadway in the role of Emile Magis, a character embroiled in the play’s satirical exploration of political and social themes.

“Gentlemen, Be Seated!” (1963): is a musical conceived as an anti-war, anti-racist commentary; the show presents a musical history of the American Civil War through the framework of a minstrel show—a popular entertainment format during the 19th century. The cast starred Dick Shawn as Mister Interlocutor. Jerome Moross The musical was completed in 1956 but did not see a full production until 1963, when the New York City Opera included it in its season.

“Fade Out – Fade In” (1964): He joined the cast as Byron Prong, co-staring with Carol Burnett, further establishing his reputation on the Broadway stage.

“Peterpat” (1965): Shawn demonstrates his versatility as a performer co-starring beside Joan Hackett.

“I’m Solomon” (1968): Shawn starred as Solomon/Yoni, showcasing his ability to handle complex characters. This show was specifically written with Shawn in mind.

“A Musical Jubilee” (1975): Shawn starred in this celebration of musical theater history.

“The 2nd Greatest Entertainer in the Whole Wide World” (1977): Starring, written and directed by Shawn, this was the premier of his one-man show at the Promenade Theater, New York City. His nephew, Steve Schulefand had a featured role. He later went on to perform the show around the country winning numerous theater awards.

“Home Again, Home Again” (1979) was a musical that embarked on a pre-Broadway tour in 1979 but ultimately did not reach Broadway. The production featured music by Cy Coleman and lyrics by Barbara Fried, with direction by Gene Saks and choreography by Onna White. The cast included notable performers such as Ronny Cox, Lisa Kirk, and Dick Shawn, who portrayed multiple roles, including Hamilton Witherspoon, Editor, Reverend, Governor, Banker, Sergeant, and Boss. The show had its tryout at the American Shakespeare Theatre in Stratford, Connecticut and then moved to the Royal Alexandra Theatre in Toronto, Ontario.